The Spirit of the Age Part 10

Something of this fluctuating, time-serving principle was visible even in the great question of the Abolition of the Slave Trade. He was, at one time, half inclined to surrender it into Mr. Pitt's dilatory hands, and seemed to think the gloss of novelty was gone from it, and the gaudy colouring of popularity sunk into the _sable_ ground from which it rose!

It was, however, persisted in and carried to a triumphant conclusion.

Mr. Wilberforce said too little on this occasion of one, compared with whom he was but the frontispiece to that great chapter in the history of the world--the mask, the varnishing, and painting--the man that effected it by Herculean labours of body, and equally gigantic labours of mind was Clarkson, the true Apostle of human Redemption on that occasion, and who, it is remarkable, resembles in his person and lineaments more than one of the Apostles in the _Cartoons_ of Raphael. He deserves to be added to the Twelve![A]

[Footnote A: After all, the best as well as most amusing comment on the character just described was that made by Sheridan, who being picked up in no very creditable plight by the watch, and asked rather roughly who he was, made answer--"I am Mr. Wilberforce!" The guardians of the night conducted him home with all the honours due to Grace and Nature.]

MR. SOUTHEY.

Mr. Southey, as we formerly remember to have seen him, had a hectic flush upon his cheek, a roving fire in his eye, a falcon glance, a look at once aspiring and dejected--it was the look that had been impressed upon his face by the events that marked the outset of his life, it was the dawn of Liberty that still tinged his cheek, a smile betwixt hope and sadness that still played upon his quivering lip. Mr. Southey's mind is essentially sanguine, even to over-weeningness. It is prophetic of good; it cordially embraces it; it casts a longing, lingering look after it, even when it is gone for ever. He cannot bear to give up the thought of happiness, his confidence in his fellow-man, when all else despair.

It is the very element, "where he must live or have no life at all."

While he supposed it possible that a better form of society could be introduced than any that had hitherto existed, while the light of the French Revolution beamed into his soul (and long after, it was seen reflected on his brow, like the light of setting suns on the peak of some high mountain, or lonely range of clouds, floating in purer ether!) while he had this hope, this faith in man left, he cherished it with child-like simplicity, he clung to it with the fondness of a lover, he was an enthusiast, a fanatic, a leveller; he stuck at nothing that he thought would banish all pain and misery from the world--in his impatience of the smallest error or injustice, he would have sacrificed himself and the existing generation (a holocaust) to his devotion to the right cause. But when he once believed after many staggering doubts and painful struggles, that this was no longer possible, when his chimeras and golden dreams of human perfectibility vanished from him, he turned suddenly round, and maintained that "whatever _is_, is right." Mr.

Southey has not fort.i.tude of mind, has not patience to think that evil is inseparable from the nature of things. His irritable sense rejects the alternative altogether, as a weak stomach rejects the food that is distasteful to it. He hopes on against hope, he believes in all unbelief. He must either repose on actual or on imaginary good. He missed his way in _Utopia_, he has found it at Old Sarum--

"His generous _ardour_ no cold medium knows:"

his eagerness admits of no doubt or delay. He is ever in extremes, and ever in the wrong!

The reason is, that not truth, but self-opinion is the ruling principle of Mr. Southey's mind. The charm of novelty, the applause of the mult.i.tude, the sanction of power, the venerableness of antiquity, pique, resentment, the spirit of contradiction have a good deal to do with his preferences. His inquiries are partial and hasty: his conclusions raw and unconcocted, and with a considerable infusion of whim and humour and a monkish spleen. His opinions are like certain wines, warm and generous when new; but they will not keep, and soon turn flat or sour, for want of a stronger spirit of the understanding to give a body to them. He wooed Liberty as a youthful lover, but it was perhaps more as a mistress than a bride; and he has since wedded with an elderly and not very reputable lady, called Legitimacy. _A wilful man_, according to the Scotch proverb, _must have his way_. If it were the cause to which he was sincerely attached, he would adhere to it through good report and evil report; but it is himself to whom he does homage, and would have others do so; and he therefore changes sides, rather than submit to apparent defeat or temporary mortification. Abstract principle has no rule but the understood distinction between right and wrong; the indulgence of vanity, of caprice, or prejudice is regulated by the convenience or bias of the moment. The temperament of our politician's mind is poetical, not philosophical. He is more the creature of impulse, than he is of reflection. He invents the unreal, he embellishes the false with the glosses of fancy, but pays little attention to "the words of truth and soberness." His impressions are accidental, immediate, personal, instead of being permanent and universal. Of all mortals he is surely the most impatient of contradiction, even when he has completely turned the tables on himself. Is not this very inconsistency the reason?

Is he not tenacious of his opinions, in proportion as they are brittle and hastily formed? Is he not jealous of the grounds of his belief, because he fears they will not bear inspection, or is conscious he has shifted them? Does he not confine others to the strict line of orthodoxy, because he has himself taken every liberty? Is he not afraid to look to the right or the left, lest he should see the ghosts of his former extravagances staring him in the face? Does he not refuse to tolerate the smallest shade of difference in others, because he feels that he wants the utmost lat.i.tude of construction for differing so widely from himself? Is he not captious, dogmatical, petulant in delivering his sentiments, according as he has been inconsistent, rash, and fanciful in adopting them? He maintains that there can be no possible ground for differing from him, because he looks only at his own side of the question! He sets up his own favourite notions as the standard of reason and honesty, because he has changed from one extreme to another! He treats his opponents with contempt, because he is himself afraid of meeting with disrespect! He says that "a Reformer is a worse character than a house-breaker," in order to stifle the recollection that he himself once was one!

We must say that "we relish Mr. Southey more in the Reformer" than in his lately acquired, but by no means natural or becoming character of poet-laureat and courtier. He may rest a.s.sured that a garland of wild flowers suits him better than the laureat-wreath: that his pastoral odes and popular inscriptions were far more adapted to his genius than his presentation-poems. He is nothing akin to birth-day suits and drawing-room fopperies. "He is nothing, if not fantastical." In his figure, in his movements, in his sentiments, he is sharp and angular, quaint and eccentric. Mr. Southey is not of the court, courtly. Every thing of him and about him is from the people. He is not cla.s.sical, he is not legitimate. He is not a man cast in the mould of other men's opinions: he is not shaped on any model: he bows to no authority: he yields only to his own wayward peculiarities. He is wild, irregular, singular, extreme. He is no formalist, not he! All is crude and chaotic, self-opinionated, vain. He wants proportion, keeping, system, standard rules. He is not _teres et rotundus_. Mr. Southey walks with his chin erect through the streets of London, and with an umbrella sticking out under his arm, in the finest weather. He has not sacrificed to the Graces, nor studied decorum. With him every thing is projecting, starting from its place, an episode, a digression, a poetic license. He does not move in any given orbit, but like a falling star, shoots from his sphere. He is pragmatical, restless, unfixed, full of experiments, beginning every thing a-new, wiser than his betters, judging for himself, dictating to others. He is decidedly _revolutionary_. He may have given up the reform of the State: but depend upon it, he has some other _hobby_ of the same kind. Does he not dedicate to his present Majesty that extraordinary poem on the death of his father, called _The Vision of Judgment_, as a specimen of what might be done in English hexameters? In a court-poem all should be trite and on an approved model. He might as well have presented himself at the levee in a fancy or masquerade dress. Mr. Southey was not _to try conclusions_ with Majesty--still less on such an occasion. The extreme freedoms with departed greatness, the party-petulance carried to the Throne of Grace, the unchecked indulgence of private humour, the a.s.sumption of infallibility and even of the voice of Heaven in this poem, are pointed instances of what we have said. They shew the singular state of over-excitement of Mr. Southey's mind, and the force of old habits of independent and unbridled thinking, which cannot be kept down even in addressing his Sovereign! Look at Mr. Southey's larger poems, his _Kehama_, his _Thalaba_, his _Madoc_, his _Roderic_. Who will deny the spirit, the scope, the splendid imagery, the hurried and startling interest that pervades them? Who will say that they are not sustained on fictions wilder than his own Glendoveer, that they are not the daring creations of a mind curbed by no law, tamed by no fear, that they are not rather like the trances than the waking dreams of genius, that they are not the very paradoxes of poetry? All this is very well, very intelligible, and very harmless, if we regard the rank excrescences of Mr. Southey's poetry, like the red and blue flowers in corn, as the unweeded growth of a luxuriant and wandering fancy; or if we allow the yeasty workings of an ardent spirit to ferment and boil over--the variety, the boldness, the lively stimulus given to the mind may then atone for the violation of rules and the offences to bed-rid authority; but not if our poetic libertine sets up for a law-giver and judge, or an apprehender of vagrants in the regions either of taste or opinion. Our motley gentleman deserves the strait-waistcoat, if he is for setting others in the stocks of servility, or condemning them to the pillory for a new mode of rhyme or reason. Or if a composer of sacred Dramas on cla.s.sic models, or a translator of an old Latin author (that will hardly bear translation) or a vamper-up of vapid cantos and Odes set to music, were to turn pander to prescription and palliater of every dull, incorrigible abuse, it would not be much to be wondered at or even regretted. But in Mr. Southey it was a lamentable falling-off. It is indeed to be deplored, it is a stain on genius, a blow to humanity, that the author of _Joan of Arc_--that work in which the love of Liberty is exhaled like the breath of spring, mild, balmy, heaven-born, that is full of tears and virgin-sighs, and yearnings of affection after truth and good, gushing warm and crimsoned from the heart--should ever after turn to folly, or become the advocate of a rotten cause. After giving up his heart to that subject, he ought not (whatever others might do) ever to have set his foot within the threshold of a court. He might be sure that he would not gain forgiveness or favour by it, nor obtain a single cordial smile from greatness. All that Mr. Southey is or that he does best, is independent, spontaneous, free as the vital air he draws--when he affects the courtier or the sophist, he is obliged to put a constraint upon himself, to hold in his breath, he loses his genius, and offers a violence to his nature. His characteristic faults are the excess of a lively, unguarded temperament:--oh! let them not degenerate into cold-blooded, heartless vices! If we speak or have ever spoken of Mr. Southey with severity, it is with "the malice of old friends," for we count ourselves among his sincerest and heartiest well-wishers. But while he himself is anomalous, incalculable, eccentric, from youth to age (the _Wat Tyler_ and the _Vision of Judgment_ are the Alpha and Omega of his disjointed career) full of sallies of humour, of ebullitions of spleen, making _jets-d'eaux,_ cascades, fountains, and water-works of his idle opinions, he would shut up the wits of others in leaden cisterns, to stagnate and corrupt, or bury them under ground--

"Far from the sun and summer gale!"

He would suppress the freedom of wit and humour, of which he has set the example, and claim a privilege for playing antics. He would introduce an uniformity of intellectual weights and measures, of irregular metres and settled opinions, and enforce it with a high hand. This has been judged hard by some, and has brought down a severity of recrimination, perhaps disproportioned to the injury done. "Because he is virtuous," (it has been asked,) "are there to be no more cakes and ale?" Because he is loyal, are we to take all our notions from the _Quarterly Review_?

Because he is orthodox, are we to do nothing but read the _Book of the Church_? We declare we think his former poetical scepticism was not only more amiable, but had more of the spirit of religion in it, implied a more heartfelt trust in nature and providence than his present bigotry.

We are at the same time free to declare that we think his articles in the _Quarterly Review,_ notwithstanding their virulence and the talent they display, have a tendency to qualify its most pernicious effects.

They have redeeming traits in them. "A little leaven leaveneth the whole lump:" and the spirit of humanity (thanks to Mr. Southey) is not quite expelled from the _Quarterly Review_. At the corner of his pen, "there hangs a vapourous drop profound" of independence and liberality, which falls upon its pages, and oozes out through the pores of the public mind. There is a fortunate difference between writers whose hearts are naturally callous to truth, and whose understandings are hermetically sealed against all impressions but those of self-interest, and a man like Mr. Southey. _Once a philanthropist and always a philanthropist_.

No man can entirely baulk his nature: it breaks out in spite of him.

In all those questions, where the spirit of contradiction does not interfere, on which he is not sore from old bruises, or sick from the extravagance of youthful intoxication, as from a last night's debauch, our "laureate" is still bold, free, candid, open to conviction, a reformist without knowing it. He does not advocate the slave-trade, he does not arm Mr. Malthus's revolting ratios with his authority, he does not strain hard to deluge Ireland with blood. On such points, where humanity has not become obnoxious, where liberty has not pa.s.sed into a by-word, Mr. Southey is still liberal and humane. The elasticity of his spirit is unbroken: the bow recoils to its old position. He still stands convicted of his early pa.s.sion for inquiry and improvement. He was not regularly articled as a Government-tool!--Perhaps the most pleasing and striking of all Mr. Southey's poems are not his triumphant taunts hurled against oppression, are not his glowing effusions to Liberty, but those in which, with a mild melancholy, he seems conscious of his own infirmities of temper, and to feel a wish to correct by thought and time the precocity and sharpness of his disposition. May the quaint but affecting aspiration expressed in one of these be fulfilled, that as he mellows into maturer age, all such asperities may wear off, and he himself become

"Like the high leaves upon the holly-tree!"

Mr. Southey's prose-style can scarcely be too much praised. It is plain, clear, pointed, familiar, perfectly modern in its texture, but with a grave and sparkling admixture of _archaisms_ in its ornaments and occasional phraseology. He is the best and most natural prose-writer of any poet of the day; we mean that he is far better than Lord Byron, Mr. Wordsworth, or Mr. Coleridge, for instance. The manner is perhaps superior to the matter, that is, in his Essays and Reviews. There is rather a want of originality and even of _impetus_: but there is no want of playful or biting satire, of ingenuity, of casuistry, of

learning and of information. He is "full of wise saws and modern" (as well as ancient) "instances." Mr. Southey may not always convince his opponents; but he seldom fails to stagger, never to gall them. In a word, we may describe his style by saying that it has not the body or thickness of port wine, but is like clear sherry with kernels of old authors thrown into it!--He also excels as an historian and prose-translator. His histories abound in information, and exhibit proofs of the most indefatigable patience and industry. By no uncommon process of the mind, Mr. Southey seems willing to steady the extreme levity of his opinions and feelings by an appeal to facts. His translations of the Spanish and French romances are also executed _con amore_, and with the literal fidelity and care of a mere linguist. That of the _Cid_, in particular, is a masterpiece. Not a word could be altered for the better, in the old scriptural style which it adopts in conformity to the original. It is no less interesting in itself, or as a record of high and chivalrous feelings and manners, than it is worthy of perusal as a literary curiosity.

Mr. Southey's conversation has a little resemblance to a common-place book; his habitual deportment to a piece of clock-work. He is not remarkable either as a reasoner or an observer: but he is quick, unaffected, replete with anecdote, various and retentive in his reading, and exceedingly happy in his play upon words, as most scholars are who give their minds this sportive turn. We have chiefly seen Mr. Southey in company where few people appear to advantage, we mean in that of Mr.

Coleridge. He has not certainly the same range of speculation, nor the same flow of sounding words, but he makes up by the details of knowledge, and by a scrupulous correctness of statement for what he wants in originality of thought, or impetuous declamation. The tones of Mr. Coleridge's voice are eloquence: those of Mr. Southey are meagre, shrill, and dry. Mr. Coleridge's _forte_ is conversation, and he is conscious of this: Mr. Southey evidently considers writing as his strong-hold, and if gravelled in an argument, or at a loss for an explanation, refers to something he has written on the subject, or brings out his port-folio, doubled down in dog-ears, in confirmation of some fact. He is scholastic and professional in his ideas. He sets more value on what he writes than on what he says: he is perhaps prouder of his library than of his own productions--themselves a library! He is more simple in his manners than his friend Mr. Coleridge; but at the same time less cordial or conciliating. He is less vain, or has less hope of pleasing, and therefore lays himself less out to please. There is an air of condescension in his civility. With a tall, loose figure, a peaked austerity of countenance, and no inclination to _embonpoint_, you would say he has something puritanical, something ascetic in his appearance. He answers to Mandeville's description of Addison, "a parson in a tye-wig." He is not a boon companion, nor does he indulge in the pleasures of the table, nor in any other vice; nor are we aware that Mr.

Southey is chargeable with any human frailty but--_want of charity_!

Having fewer errors to plead guilty to, he is less lenient to those of others. He was born an age too late. Had he lived a century or two ago, he would have been a happy as well as blameless character. But the distraction of the time has unsettled him, and the multiplicity of his pretensions have jostled with each other. No man in our day (at least no man of genius) has led so uniformly and entirely the life of a scholar from boyhood to the present hour, devoting himself to learning with the enthusiasm of an early love, with the severity and constancy of a religious vow--and well would it have been for him if he had confined himself to this, and not undertaken to pull down or to patch up the State! However irregular in his opinions, Mr. Southey is constant, unremitting, mechanical in his studies, and the performance of his duties. There is nothing Pindaric or Shandean here. In all the relations and charities of private life, he is correct, exemplary, generous, just.

We never heard a single impropriety laid to his charge; and if he has many enemies, few men can boast more numerous or stauncher friends.--The variety and piquancy of his writings form a striking contrast to the mode in which they are produced. He rises early, and writes or reads till breakfast-time. He writes or reads after breakfast till dinner, after dinner till tea, and from tea till bed-time--

"And follows so the ever-running year With profitable labour to his grave--"

on Derwent's banks, beneath the foot of Skiddaw. Study serves him for business, exercise, recreation. He pa.s.ses from verse to prose, from history to poetry, from reading to writing, by a stop-watch. He writes a fair hand, without blots, sitting upright in his chair, leaves off when he comes to the bottom of the page, and changes the subject for another, as opposite as the Antipodes. His mind is after all rather the recipient and transmitter of knowledge, than the originator of it. He has hardly grasp of thought enough to arrive at any great leading truth. His pa.s.sions do not amount to more than irritability. With some gall in his pen, and coldness in his manner, he has a great deal of kindness in his heart. Rash in his opinions, he is steady in his attachments--and is a man, in many particulars admirable, in all respectable--his political inconsistency alone excepted!

MR. T. MOORE.--MR. LEIGH HUNT.

"Or winglet of the fairy humming-bird, Like atoms of the rainbow fluttering round."

CAMPBELL.

The lines placed at the head of this sketch, from a contemporary writer, appear to us very descriptive of Mr. Moore's poetry. His verse is like a shower of beauty; a dance of images; a stream of music; or like the spray of the water-fall, tinged by the morning-beam with rosy light.

The characteristic distinction of our author's style is this continuous and incessant flow of voluptuous thoughts and shining allusions. He ought to write with a crystal pen on silver paper. His subject is set off by a dazzling veil of poetic diction, like a wreath of flowers gemmed with innumerous dewdrops, that weep, tremble, and glitter in liquid softness and pearly light, while the song of birds ravishes the ear, and languid odours breathe around, and Aurora opens Heaven's smiling portals, Peris and nymphs peep through the golden glades, and an Angel's wing glances over the glossy scene.

"No dainty flower or herb that grows on ground, No arboret with painted blossoms drest, And smelling sweet, but there it might be found To bud out fair, and its sweet smells throw all around.

No tree, whose branches did not bravely spring; No branch, whereon a fine bird did not sit; No bird, but did her shrill notes sweetly sing; No song, but did contain a lovely dit: Trees, branches, birds, and songs were framed fit For to allure frail minds to careless ease."....

Mr. Campbell's imagination is fastidious and select; and hence, though we meet with more exquisite beauties in his writings, we meet with them more rarely: there is comparatively a dearth of ornament. But Mr.

Moore's strictest economy is "wasteful and superfluous excess:" he is always liberal, and never at a loss; for sooner than not stimulate and delight the reader, he is willing to be tawdry, or superficial, or common-place. His Muse must be fine at any rate, though she should paint, and wear cast-off decorations. Rather than have any lack of excitement, he repeats himself; and "Eden, and Eblis, and cherub-smiles"

fill up the pauses of the sentiment with a sickly monotony.--It has been too much our author's object to pander to the artificial taste of the age; and his productions, however brilliant and agreeable, are in consequence somewhat meretricious and effeminate. It was thought formerly enough to have an occasionally fine pa.s.sage in the progress of a story or a poem, and an occasionally striking image or expression in a fine pa.s.sage or description. But this style, it seems, was to be exploded as rude, Gothic, meagre, and dry. Now all must be raised to the same tantalising and preposterous level. There must be no pause, no interval, no repose, no gradation. Simplicity and truth yield up the palm to affectation and grimace. The craving of the public mind after novelty and effect is a false and uneasy appet.i.te that must be pampered with fine words at every step--we must be tickled with sound, startled with shew, and relieved by the importunate, uninterrupted display of fancy and verbal tinsel as much as possible from the fatigue of thought or shock of feeling. A poem is to resemble an exhibition of fireworks, with a continual explosion of quaint figures and devices, flash after flash, that surprise for the moment, and leave no trace of light or warmth behind them. Or modern poetry in its retrograde progress comes at last to be constructed on the principles of the modern OPERA, where an attempt is made to gratify every sense at every instant, and where the understanding alone is insulted and the heart mocked. It is in this view only that we can discover that Mr. Moore's poetry is vitiated or immoral,--it seduces the taste and enervates the imagination. It creates a false standard of reference, and inverts or decompounds the natural order of a.s.sociation, in which objects strike the thoughts and feelings.

His is the poetry of the bath, of the toilette, of the saloon, of the fashionable world; not the poetry of nature, of the heart, or of human life. He stunts and enfeebles equally the growth of the imagination and the affections, by not taking the seed of poetry and sowing it in the ground of truth, and letting it expand in the dew and rain, and shoot up to heaven,

"And spread its sweet leaves to the air, Or dedicate its beauty to the sun,"--

instead of which he antic.i.p.ates and defeats his own object, by plucking flowers and blossoms from the stem, and setting them in the ground of idleness and folly--or in the cap of his own vanity, where they soon wither and disappear, "dying or ere they sicken!" This is but a sort of child's play, a short-sighted ambition. In Milton we meet with many prosaic lines, either because the subject does not require raising or because they are necessary to connect the story, or serve as a relief to other pa.s.sages--there is not such a thing to be found in all Mr. Moore's writings. His volumes present us with "a perpetual feast of nectar'd sweets"--but we cannot add,--"where no crude surfeit reigns." He indeed cloys with sweetness; he obscures with splendour; he fatigues with gaiety. We are stifled on beds of roses--we literally lie "on the rack of restless ecstacy." His flowery fancy "looks so fair and smells so sweet, that the sense aches at it." His verse droops and languishes under a load of beauty, like a bough laden with fruit. His gorgeous style is like "another morn risen on mid-noon." There is no pa.s.sage that is not made up of blushing lines, no line that is not enriched with a sparkling metaphor, no image that is left unadorned with a double epithet--all his verbs, nouns, adjectives, are equally glossy, smooth, and beautiful. Every stanza is transparent with light, perfumed with odours, floating in liquid harmony, melting in luxurious, evanescent delights. His Muse is never contented with an offering from one sense alone, but brings another rifled charm to match it, and revels in a fairy round of pleasure. The interest is not dramatic, but melo-dramatic--it is a mixture of painting, poetry, and music, of the natural and preternatural, of obvious sentiment and romantic costume. A rose is a _Gul_, a nightingale a _Bulbul_. We might fancy ourselves in an eastern harem, amidst Ottomans, and otto of roses, and veils and spangles, and marble pillars, and cool fountains, and Arab maids and Genii, and magicians, and Peris, and cherubs, and what not? Mr. Moore has a little mistaken the art of poetry for the _cosmetic art_. He does not compose an historic group, or work out a single figure; but throws a variety of elementary sensations, of vivid impressions together, and calls it a description. He makes out an inventory of beauty--the smile on the lips, the dimple on the cheeks, _item_, golden locks, _item_, a pair of blue wings, _item_, a silver sound, with breathing fragrance and radiant light, and thinks it a character or a story. He gets together a number of fine things and fine names, and thinks that, flung on heaps, they make up a fine poem. This dissipated, fulsome, painted, patch-work style may succeed in the levity and languor of the _boudoir_, or might have been adapted to the Pavilions of royalty, but it is not the style of Parna.s.sus, nor a pa.s.sport to Immortality. It is not the taste of the ancients, "'tis not cla.s.sical lore"--nor the fashion of Tibullus, or Theocritus, or Anacreon, or Virgil, or Ariosto, or Pope, or Byron, or any great writer among the living or the dead, but it is the style of our English Anacreon, and it is (or was) the fashion of the day! Let one example (and that an admired one) taken from _Lalla Rookh_, suffice to explain the mystery and soften the harshness of the foregoing criticism.

"Now upon Syria's land of roses Softly the light of eve reposes, And like a glory, the broad sun Hangs over sainted Lebanon: Whose head in wintry grandeur towers, And whitens with eternal sleet, While summer, in a vale of flowers, Is sleeping rosy at his feet.

To one who look'd from upper air, O'er all th' enchanted regions there, How beauteous must have been the glow, The life, the sparkling from below!

Fair gardens, shining streams, with ranks Of golden melons on their banks, More golden where the sun-light falls,-- Gay lizards, glittering on the walls Of ruin'd shrines, busy and bright As they were all alive with light;-- And yet more splendid, numerous flocks Of pigeons, settling on the rocks, With their rich, restless wings, that gleam Variously in the crimson beam Of the warm west, as if inlaid With brilliants from the mine, or made Of tearless rainbows, such as span The unclouded skies of Peristan!

And then, the mingling sounds that come Of shepherd's ancient reed, with hum Of the wild bees of Palestine, Banquetting through the flowery vales-- And, Jordan, those sweet banks of thine, And woods, so full of nightingales."--

The following lines are the very perfection of Della Cruscan sentiment, and affected orientalism of style. The Peri exclaims on finding that old talisman and hackneyed poetical machine, "a penitent tear"--

"Joy, joy forever! my task is done-- The gates are pa.s.s'd, and Heaven is won!